An interview with Pond5 co-Founder and CEO Tom Bennett about their groundbreaking announcement

Last month, Pond5 broke down barriers that have existed forever with the announcement of their Public Domain Project. The collection is a gathering of copyright-free multimedia content that’s accessible for search, download and use – and all completely free.

This shortcut takes you right back to the previous trim and its trim roller setup

Today we have another reader Quicktip for Avid Media Composer (these have been pouring in from the Avid editors out there) from Alain Dessauvage about an old favorite timesaver around Avid’s Trim Mode that I bet a lot of people don’t know.

Production team uses Adobe Premiere Pro CC to turn 3,000 hours of documentary footage into 10 compelling television episodes

Chris Moore, executive producer of Project Greenlight, has long been fascinated by the way different creative visions can take projects in wildly different directions. The Chair is a documentary series that follows two directors as they develop their first feature-length films based on the same...
Read More

Zeiss’ VR ONE promising a portable virtual movie theater won the iF Design Award 2015 in the Audio/Video product category.

The Virtual Reality headset that creates a virtual movie theater for you to watch films, was chosen by an international expert jury that assessed almost 5,000 entries from 53 countries. Priced at $99, the Zeiss VR ONE is available for iPhone 6 and Samsung Galaxy S5.

The post-production expert shares how you can speed up your workflow by over 30% during a live webinar on February 24th, 2015

Questions around how professionals can and should utilize 4K are as pervasive as ever. What sort of hardware requirements are needed for a 4K production? Will you need to upgrade or install different software? Are you working as efficiently as possible in your 4K production?

How do you get people to buy into a new or different process?

In Part I of this series, I mentioned that I have my own system for versioning and dealing with backups. Anything that takes me away from the way I’ve been doing things, regardless of whether or not it’s something that’s inherently better, is going to be a difficult...
Read More

If you use the Scratch Removal tool the long way get ready to rejoice

Today’s Quicktip is another Avid Media Composer reader tip sent to us by Ra-ey Saleh. It’s an big timesaving tip if you have to use the Scratch Removal tool to remove artifacts from a single frame in your edit.

It's also good to know Shelf, Linear, Spline and Bezier

Today’s Quicktip comes to us from Josh Short of EditVideoFaster.com. It’s an effects based keyframing tip that is buried deep within Avid Media Composer's Effects Editor. It is imperative an editor knows these tips if they want to get the most out of animating effects in Media Composer. Take it away Josh.

What just happened? Plus, Mark's fiendish quizzes

The HPA Tech Retreat is an annual gathering of some of the sharpest minds in post, production, broadcast, and distribution – and the 2015 Retreat is now over. As Leon Silverman and Jerry Pierce like to ask, what just...
Read More

Let's take a look at how easy it is to have DaVinci Resolve team up with Media Composer to get your 4K projects looking awesome!

In the last of our 3 part introductory look at 4K workflows inside of Media Composer Subscription, we take a look at taking your Media Composer timeline, sending it via AAF to DaVinci Resolve, have Resolve open your DNxHR media, and then send it back to Media Composer for final client approval!

This Week on MacBreak Studio

If you've been using the Sound and Effects Browser, Steve Martin from Ripple Training has a great tip for you today. In this week's edition of Mac Break Studio, he shows us a method for storing, filtering, and...
Read More

GarageBand’s lack of 48 kHz sampling rate even limits audio producers from making soundtracks for video

The market is full of capable digital audio editing applications. I am familiar with many of them and have covered several. Many are capable of recording —and all are capable of editing and delivering — a final product of 44.1 or 48 kHz (or more) with a single glaring exception: GarageBand from Apple. That makes GarageBand kryptonite for video producers, and even for audio producers who either want to shoot themselves on video or ever produce a soundtrack for a video producer. Ahead we’ll review what this all means, including what audio sampling rate is, and best practices for a producing a music video.

The new Canon EF 11-24mm f/4L USM may look like a lens for stills, but it also works for video.

The EF 11-24mm f/4L USM is Canon’s widest ever full-frame ultra-wide zoom lens, and apparently the widest available in the world at the moment. Photographers have a special interest in this lens, but cinematographers may be surprised with the results the lens offers.

A comparison test with Westcott's flexible LED panel

Recently I had the pleasure of working on a project with Jem Schofield. Jem has a gear obsession that borders on a medical condition, and I was delighted to see that he brought along a set of Westcott Flex lights.

Working with the Flex light, I was surprised at their relatively powerful output and clean color performance…color accuracy and output power are often weak points for LED lighting fixtures, and these new lights didn't seem to suffer from those issues. I'm always on the lookout for tools that are lighter and smaller for travel documentary and interview work, so I decided to do some lighting tests to see if they were powerful enough.

This new feature was a long time coming

This Quicktip is a version specific Quicktip and our first for Avid Media Composer. It’s a small change but a big thing for editors that was added in the recent version 8 update: The ability to mute clips in the timeline. And that's not only mute audio: it’s mute as in disable the clip so it stays in the timeline but isn’t visible in the playback or output.

Tokina is clearly expanding their lens line. Now they have a Tokina Cinema AT-X 50-135mm T3.0 in Canon and PL Mount.

Kenko Tokina USA, Inc. announced their new lens for the Tokina Cinema ATX line. The Tokina Cinema AT-X 50-135mm T3.0 lens created by the engineers from the company offers a highly versatile zoom range in a compact design that is 4K ready.

A workflow overview in under 5 minutes

In this Under 5 episode, Alexis Van Hurkman from Ripple Training shows you how to export a project out of Final Cut Pro X as an XML, import it into DaVinci Resolve while maintaining the effects and assets of the Final Cut Project, and then send the final result back to Final Cut Pro...
Read More